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Spectropop - Digest Number 1581



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               SPECTROPOP - Spectacular! Retro! Pop!
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There are 18 messages in this issue.


Topics in this digest:

      1. Re: Mauds / Trashmen
           From: Clark Besch 
      2. Re: Has anyone ever seen this movie?
           From: ModGirl 
      3. Re: UK covers
           From: Peter Lerner 
      4. I need a cool band name for a duo
           From: Mark Radice 
      5. Del Shannon -- New Orleans (Mardi Gras)
           From: JJ 
      6. Re: songwriter royalties for medleys
           From: Clark Besch 
      7. Re: crying for Crier
           From: Al Kooper 
      8. "Like A Rolling Stone"
           From: Norm D 
      9. Brother Ray
           From: Al Kooper 
     10. Re: Dylan at Newport
           From: Al Kooper 
     11. Re: UK covers
           From: Michael Fishberg 
     12. Re: Brill Building era
           From: Frank Uhle 
     13. "Shadows And Reflections" to musica
           From: Clark Besch 
     14. Re: Peppermint Trolley/Bones/Peppermint Rainbow
           From: Clark Besch 
     15. Brill Building & 1650 Bdwy.
           From: Stu Phillips 
     16. Re: Brill Building revisionism
           From: Bill Tobelman 
     17. Re: Arch Music
           From: Al Kooper 
     18. Brill Building revisionism
           From: Al Kooper 


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Message: 1 Date: Tue, 27 Jul 2004 06:39:26 -0000 From: Clark Besch Subject: Re: Mauds / Trashmen Don H. wrote: > I have the Mauds' "Man Without A Dream", from the album "Hold On". > It is not sped up. Don, I think you are mistaken. The Mauds' version appears on an RCA 45 only. Clark -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Tue, 27 Jul 2004 18:55:26 -0000 From: ModGirl Subject: Re: Has anyone ever seen this movie? Re: The Big TNT Show: Go to The Video Beat (http://www.thevideobeat.com) and you can order your very own copy. Peace, ModGirl -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Tue, 27 Jul 2004 21:21:05 +0100 From: Peter Lerner Subject: Re: UK covers Robert wrote: > Dionne was also upset with Cher's ALFIE being the official > version used for the movie soundtrack. I can only imagine her > tender thoughts about Bobbie Gentry having the U.K. hit version > of "I'll Never Fall In Love Again". Mmm. Yes, but ... Jackie DeShannon had both the original and the hit of "What The World Needs Now Is Love", and methinks Dionne now tries to claim that one as her own, too. Peter -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Tue, 27 Jul 2004 23:21:35 -0000 From: Mark Radice Subject: I need a cool band name for a duo Haven't been in here in a while -- wondering if any of youz clever peoples might have any ideas for naming a duo that I'm working with that does covers and originals. I was thinking of "Late For Dinner", "Ta-Daaa!", "Not Here", etc. I'm just hoping something will come up and smack me upside the head, but it hasn't. Any ideas? Thanks, Mark Radice -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Tue, 27 Jul 2004 20:28:27 -0000 From: JJ Subject: Del Shannon -- New Orleans (Mardi Gras) The last track on Del Shannon's classic "The Further Adventures Of Charles Westover" is "New Orleans (Mardi Gras)," written by Jim Pulte. Is there a pre-Del version of this song? Thanx in advance! JJ/Sweden -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Tue, 27 Jul 2004 06:26:52 -0000 From: Clark Besch Subject: Re: songwriter royalties for medleys Austin Roberts wrote: > When I was an artist on Phillips circa 1969, Paul Leka was producing > me and we decided to do Runaway and Just A Little together. The > royalties (which were almost nil, were equal. I've heard that sometimes, > especially when a new song combined with a former hit, the splits are > usually in favor of the former hit. I guess it's up to the publishers > to work it out. Austin, here's an "odd but true" fact. When you were at Philips, you wrote the song you recorded there, "One Night Ann". When Brian Hyland was at Philips, he recorded fellow S'popper James Holvay's song, "One Night Jimmy"!!! By today's standards, there's gotta be a lawsuit there somewhere. :) Clark -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Tue, 27 Jul 2004 14:14:08 EDT From: Al Kooper Subject: Re: crying for Crier Bill Swanke submitted: > Subject: Bronx 'Doo-Wop' Veteran, Arthur Crier, Dies At 69 > Singer-songwriter-producer Arthur Crier, a bass-singing veteran > of the doo-wop era who sang on dozens of hit records for artists > including Gene Pitney, Curtis Lee, Barry Mann, Ben E. King, and > the Halos ... Did he sing the opening line of Nag by The Halos? What a shame! Did he sing the bass part on Pitney's Every Breath I Take? Damn shame! The bass part on Curtis Lee's Pretty Lil Angel Eyes? I'm grievin' here... Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Tue, 27 Jul 2004 08:50:18 -0700 (PDT) From: Norm D Subject: "Like A Rolling Stone" There's been a short series on BBC Radio 4 called "Soul Music". It looks at the cultural / social / personal significance of songs that have become part of a wider public consciousness. Today's half-hour episode featured "Like A Rolling Stone". There was quite a bit of studio chit-chat and early run-throughs of the song (I've never heard any of that before), and contributions from, amongst others, Al Kooper, who told how this recording session led to his new career as an organ player. A great half-hour programme at 1.30 in the afternoon! The programme is archived at: http://www.bbc.co.uk/radio4/factual/soulmusic.shtml Regards Norm D. -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Tue, 27 Jul 2004 14:47:32 EDT From: Al Kooper Subject: Brother Ray NYC S'poppers: I just missed a screening of the Ray Charles biopic today. Did anyone here see it? How was it? Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Tue, 27 Jul 2004 14:37:56 EDT From: Al Kooper Subject: Re: Dylan at Newport Re: excerpt from http://buffaloreport.com/020826dylan.html : They hadn't prepared more because they'd been told beforehand by us Newport board members that three songs was all they'd be allowed to do. Also an untruth. We stayed up all night rehearsing, and only got three songs. We couldn't have played four if they wanted four, because three was all we could work up in the time period alotted for rehearsing the night before the set. Everything else Bruce Jackson says is a major revelation and should be read by all, especially Greil Marcus. Al " I was there onstage" Kooper -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Mon, 26 Jul 2004 14:29:02 -0700 (PDT) From: Michael Fishberg Subject: Re: UK covers Robert wrote: > Dionne was also upset with Cher's "Alfie" being the official version > used for the movie soundtrack. I can only imagine her tender > thoughts about Bobbie Gentry having the U.K. hit version of "I'll > Never Fall In Love Again". I thought it WAS Cilla who did "Alfie," not Cher. Michael Fishberg -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Mon, 26 Jul 2004 23:24:01 -0400 From: Frank Uhle Subject: Re: Brill Building era Al Kooper wrote: > I am obsessed with the fact that not much went on in the Brill Building > in the 60s. King-Goffin, Mann-Weil, Sedaka-Greenfield, Tony Orlando and > the entire Aldon crew, Scepter Records, Beltone Records, January & Arch > Music, Teddy Vann, Feldman-Goldtein & Gottehrer, Brass, Kooper & Levine, > were all at 1650 BROADWAY, a building without a name. I stopped in there a few months ago when I was in NYC for a visit, and scanned the names on the list of office-holders, out of curiosity. There were still several music-related ones, and if I remember correctly now, one of them was Teddy Vann! The entrance-way was suitably grungy for a no-name building, I wish I could have gone exploring but the young guy at the desk seemed not to want me to do so. I mentioned to him that I heard there'd been lots of music publishers there at one time, and he seemed to have only slight knowledge of this, certainly not any sense of the rich musical history of the place. Frank Uhle -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Tue, 27 Jul 2004 06:37:32 -0000 From: Clark Besch Subject: "Shadows And Reflections" to musica I have just played The Byzantine Empire's version of "Shadows And Reflections" to musica. Although I listed it as 1968, it is actually from early 1969, I believe. As noted, it was written by Tandyn Almer and Larry Marks. Larry Marks produced Emmitt Rhodes' Merry-Go-Round for A&M in the 60's as well as having the nice minor hit "L.A. Breakdown (And Take Me In)" on his own in '69. The Byzantine Empire's record was produced and arranged by Eddie Higgins and Bob Schiff for the legendary Chicago production company, Dunwich. By this time, the Dunwich record label Bill Traut ran had closed and Dunwich had merged with Bob Monaco and USA Records. The B Empire 45 proudly sports the "It's Dunwich Man!" logo, though. They went on to do three 45s for Amy under the Dunwich production team. Previous to being called The Byzantine Empire, this Chicago-area group was known as The 5 Bucks and had three tremendous 45s that should have rivaled the great Chicago groups of the day, but somehow they ended up never being in the right place at the right time. Enjoy! Clark -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Tue, 27 Jul 2004 07:03:01 -0000 From: Clark Besch Subject: Re: Peppermint Trolley/Bones/Peppermint Rainbow Orion wrote: > Re Peppermint Trolley: they also released an LP as "Bones". It is > the Faragher Brothers and some others. Hey, that's cool! I did not know that Bones came from The Peppermint Trolley. I love their version of "Roberta" from October, 1972! It sits in my fave 45s with a couple of Peppermint Trolley ones too. "Baby You Come Rollin'" is a gimme, while "Beautiful Sun" was perfect for early '69 and strolled into my faves then along with similar greats from that period, "Lovin' Things" by December's Children and Higher Elevation's "Summer Skies" and Parade's "Laughin' Lady", to name a few. AND some Peppermint Rainbow ones fit in there too.. Bob Rashkow wrote: > Shawn (Superoldies): Thanks for the information. I had been asking > about The Peppermint Rainbow! Bobster, Shawn Superoldies and I have talked about a Peppermint Trolley CD for a long time, as well as for the Candymen. As for The Peppermint Rainbow, their two hits are wonderful. I have two followup 45s from later 1969 that are non-LP, called "Don't Love Me Unless It's Forever" and "You're The Sound Of Love". Both are pretty good, too, and are co- written by Paul Leka, with Paul also producing and arranging the tracks on Decca. Take care, Clark -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Tue, 27 Jul 2004 18:31:07 -0000 From: Stu Phillips Subject: Brill Building & 1650 Bdwy. Concerning the Sixties, the Brill Building, etc., I think that we all should remember that, although many of the hit records of the Sixties were a result of the writers, producers and record companies housed in those famous buildings, a very large percentage of NYC hits came out of RCA Records, Capitol, Mercury, Decca, Colpix, Columbia, Roulette and many others, whose offices were not in either of those two buildings. Also, major publishers like Chappell, Robbins Feist & Miller, and other similar companies located around NY provided hit material for artists. The Sixties was an exciting period in the development of pop music, and many people and places spread all over NY were major contributors. Stu Phillips -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Tue, 27 Jul 2004 07:46:06 -0400 From: Bill Tobelman Subject: Re: Brill Building revisionism James Botticelli wrote: > Brill-Building pop may not have existed by name during its heyday, > but most pop aficionados know it when they hear it. Its OK to call > it something, isn't it? And where did Goffin-King work, in a basement > in Brooklyn? Maybe the term "Brill Building" will someday have an even larger scope, something along the lines of "Tin Pan Alley." For instance, I found this online: "Originally, Tin Pan Alley was a nickname given an actual street (West 28th Street between Broadway and Sixth Avenue) in Manhattan, where many of the fledgling popular music publishers had their offices. In time, it became the generic term for all publishers of popular American sheet music, regardless of their geographic locations." -Bill -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Tue, 27 Jul 2004 14:50:50 EDT From: Al Kooper Subject: Re: Arch Music Bob Rashkow wrote: > Al Kooper, or anybody, who was Arch Music?You mentioned them in > your partial list of the 1650 B'way roll call of pop penners. Who ran it > and who were the artists that benefited (or made an effort to) from their > repertoire? Arch Music was another Aaron Schroeder company, which included January, Sea-Lark, Arch, and A Schroeder Music. -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Tue, 27 Jul 2004 14:18:52 EDT From: Al Kooper Subject: Brill Building revisionism James Botticelli wrote: > It's OK to call it something, isn't it? And where did Goffin-King work, in a > basement in Brooklyn? No -- and NOT in the Brill Building, either, but rather at 1650 Broadway, James. Shoulda been called the "1650 Sound," for true accuracy. previously: > Bobby Darin & TM Music, Regent & ARC Music publishers of most of > the great Chess Record stuff, Hill & Range Music (need we explain > them) and I think Irving Berlin Music i With the exception of early Darin. none of the above qualifies as the Brill Building sound, BTW, which was my point. I'm well aware of the residents of both buildings, but on a percentage basis, the "Brill Building Sound" is actually the 1650 B'way Sound. Phil Milstein wrote: > But I also think there are, in some cases, valid reasons to deviate a bit > from the cruelly objective tone of fact -- especially since truth, in the > fashion of Rashomon, is not always quite so objectively possible to > divine. Bollocks, mate. All the witnesses in Rashomon observed the incident firsthand, and they all agreed where it took place. Take anyone who worked at 1650 & The Brill and ask them where King- Goffin, Mann-Weil, Sedaka-Greenfield, Helen Miller, Gene Pitney, Florence Greenberg, Luther Dixon, Dionne Warwick, The Tokens, Chuck Jackson, The Shirelles, Maxine Brown, The Kingsmen, Al Kooper & scores of others worked daily, and if they had sight at the time they would have to concur it was NOT IN THE BRILL BUILDING!!! Al "always debating this revisionism" Kooper -------------------[ archived by Spectropop ]-------------------
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